If nothing else, The Cloverfield Paradox is an interesting – if dubiously effective – experiment in advertising. Informing the masses of its existence via a short Super Bowl ad, it attracted a fair 750,000 viewers later that night. The series itself remains something of a novelty in the age of producers endlessly mining the same vein to diminishing returns: a loose series of movies that share the same name and universe, but are hugely unalike in terms of tone, scale, and genre. Cloverfield was a found-footage kaiju movie, 10 Cloverfield Lane was a claustrophobic thriller, and now we have The Cloverfield Paradox, a…space movie? Continue reading →

As I said in my Best of 2017, the ratio of good-to-bad movies was pretty decent this year, but the 2017 had its share of stinkers as well. Two quick notes: I (obviously) couldn’t include any movies I didn’t see (so you’re off the hook, The Emoji Movie); and as always, the presence of a movie on this list doesn’t inherently mean I disliked it. Enjoy! Continue reading →

In retrospect, 2017 was an impressive year for cinema. Anytime I find myself having to pare down my picks for the Honorable Mentions, I really can’t complain. Now, without further ado, here are my top ten movies of the year. Continue reading →